The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh

Total Page:16

File Type:pdf, Size:1020Kb

The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh Maddala Sravani1, Chiruvoori Ravi Varma2 Krishna University, Machilipatnam, Andhra Pradesh. 521001 India Project Director – ICSSR sponsored project on Problems and prospects of Kalamkari units in Machilipatnam, Andhra Pradesh Sanjeev Institute of Planning and Management, Kakinada, Andhra Pradesh. 533003 India Research Associate – ICSSR sponsored project on Problems and prospects of Kalamkari units in Machilipatnam, Andhra Pradesh Abstract: This article is a descriptive study on painted and printed textile tradition of Kalamkari units of Andhra Pradesh, using mordants and natural dyes. Initial representation of Kalamkari art was as religious paintings that depicted Indian Gods. Kalamkari started off during the Mughal dynasty and presently Andhra Pradesh is the largest producer of Kalamkari fabric. With the emergence of high quality machine looms and acceptance for printed textiles; Kalamkari art came on the verge of extinction. However, printed Kalamkari is a new craze among the current generation, as it is a combination of traditional and modern trends. Present research study examines brief history of Kalamkari Art and this article is an investigative in nature. Present study sheds some light on Kalamkari workers of pedana village. It is an attempt to reveals problems and prospects of Kalamkari workers in various aspects like change in production process or technology, marketing opportunities, availability of raw materials, infrastructure, environmental factors etc. Keywords: Kalamkari, painted textiles, block printing, pedana, Problems of Kalamkari workers trade in India in the 18th and 19th century. Though the art of 1. Introduction dye painting fabrics is known as an ancient tradition in India it is not certain as to when it all began but certain evidences Kalamkari is an ancient textile printing art that finds its roots revealed that the origins of the art were found in since 16th in the state of Andhra Pradesh. Kalam implies pen and Kari century. means art a name given by the Mughals when they discovered the art during their reign over the Deccan region. Kalamkari gained popularity as a temple art in the south of Kalamkari is the art of drawing and painting with a bamboo India in the Kingdom of Vijaynagar. It flourished around pen using natural dyes. There are two main styles of Hindu temples as supplements for murals in the interiors of Kalamkari. The block printed that is practiced in the town of temples. At that time the themes were mainly religious. Machilipatnam and the hand painted style that is largely Minstrels would paint mythological figures on cloth and practiced in the town of Srikalahasti. Present study is to wander from place to place singing and spreading the word bring some insights on Kalamkari units in a small village of God. It was a part of a popular cult and due to its vast pedana near Machilipatnam city, Andhra Pradesh. rural base became a representative of the grass root culture of India. 2. Research objectives Simultaneously the art of textile painting and printing also existed in western India in the states of Gujarat and The research will be carried out with the following Rajasthan. ‗From contemporary trade records it appears that objectives the principal cotton painting centres in the 16th and 17th a) To examine the history and growth of Kalamkari century were Burhanpur in Khandesh, Sironj in Rajputana products. (now M.P), Agra, Petaboli and Palakollu on the Golconda b) To examine the existing potential market and possible sea board and certain towns like Kalahasti in hinterland of threats to Kalamkari units. Madras.‘ Das (1992). c) To offer suggestions to policy makers and entrepreneurs. The interconnection of the western and deccan styles took 3. Research Methodology place only later in the early 16th century when the Mughals subjugated the Vijaynagar Kingdom. The painting tradition Present study is a descriptive and investigative in nature. did not have a specific name until the Sultans of Golconda Most of the data is collected from secondary sources like discovered the art. They gave it the name Kalamkari, journals, articles, news reports, and Government reports. ‗kalam‘ meaning pen and ‗kari‘ implying art. 4. Brief History of Kalamkari In the 17th century, Kalamkari saw a rise in demand from the Mughals, Persians, Dutch as well as the British. ‗The The textile tradition in India is said to be more than 3000 Kalamkari fabrics of India with jewel bright colours, printed years old. The Indian silks and brocades have been famous and painted in fascinating and intricate designs caught the among the rich around the world but the simple Kalamkari fancy of women in England and France and became the on cotton made a wide impact and revolutionized the textile fashion for daily wear.‘ Ramani (2007). Volume 9 Issue 7, July 2020 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: SR20713172207 DOI: 10.21275/SR20713172207 1099 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 What attracted them the most was the ‗brilliant colouring, b) About Pedana Kalamkari Work undimmed by repeated washes, the light texture and drape of Pedana is a small town just 13 km from Machilipatnam, the the fabric, and it‘s strength and durability were a unique and Krishna district headquarters in coastal Andhra Pradesh. unprecedented combination, rendering the cloths suitable for This small place has carved a niche for itself with its own a variety of uses‘ Chisti & Jain (2000). style—Kalamkari block printing. Over 1,200 artisan families in pedana survive on making vegetable dyes, blocks and a) Downfall printing of 25 distinctive Kalamkari textiles, including ‗As early as 1670s complaints had started to be heard from bedsheets, lungis, kerchiefs, curtains, Punjabi suits and English weavers about the influx of cotton from India, by sarees. Kalamkari has got rich heritage from ages by making 1696 dyers and linen drapers had joined the protest. 5000 various products in different styles. Most of the units are English weavers mobbed the House of Commons in a mass small and labour intensive. These units are providing protest against Indian imported goods. Finally in 1701 a law employment to women and youth of pedana. was passed forbidding the import of Indian dyed or printed Materials used in making Kalamkari: cottons and silks into Britain, except for re-export.‘ Crill Cotton Cloth (2008). Indigo Blue Alzarin This was the beginning of the downfall of Kalamkari. There Anar are many other reasons why Kalamkari declined so A solution of alum, tamarind and Indian madder root drastically among all other fabric crafts of India. One of the Pobbaku early reasons was the establishment of the European cotton Ventilago Madraspatana Gartan (Surudu Chekka) Industry in the eighteenth century. Workers were thrown into Myrobalan punery and master craftsmen died without heir to their trade Mango Bark and Pomegranate secrets. Also the rise of the batik industry in Indonesia in the 19th century leads to India‘s loss of market for the cloth. According to sources, Hand block-printed Kalamkari is a (Gillow and Barnard, 1991). tedious and time-consuming process involving a minimum of 10 steps. Important steps in making Kalamkari are: Dr. Bhatnagar (2011) opines ―So clothed in ritual and superstition was this craft that for many years it was 5. Problems of Kalamkari Units: restricted to only a handful of practitioners and the technique was a closely guarded secret. Unfortunately many a The Kalamkari art provides employment to thousands of traditional craftsman has taken this jealously guarded secret people, not only to artisans but also designers, activists etc. with him to his grave and no written records are available of But the drawback is that the industry is quite unorganized the techniques employed and the colour yielding plants used since it is cottage based and decentralized. Kalamkari units by him in his work. This has been mainly responsible for the in pedana are also no exception. They are also facing decline of this beautiful art form and we have now barely a plethora of problems, which are: dozen dye recipes in the place of over a hundred which existed before.‖ The period from 1924 up to Independence and beyond saw the near disappearance of the industry at Masulipatnam. At the same time at Kalahasti temple patronage declined and the local land lords lost wealth and power of patronage. In 1952 Kalamkari was revived at Masulipatnam at the instigation of some local textile lovers and with the help of the All India Handicrafts board. The Kalamkari as used and made in Iran was taken as model. In 1958 All India Handicraft board set up a training course and school for Kalamkari workers, drawing on skills of few remaining Kalamkari workers. (Gillow and Barnard, 1991) While there is a lot of material on the history of the Kalamkari fabric and its evolution, the academic literature on the Kalamkari market and its current products is very scarce. The textile industry in India is one of the core sources of income for the economy. Rangarajan says ―Textile industry is one of the main pillars holding the Indian Economy. It constitutes about 14 percent of industrial production, 20 percent of total export earnings, 4 percent of GDP and direct employment to an estimated 35 million people. In spite of these, India‘s entire share in the world textiles trade is still maintained at around 3 percent. Mills, power-looms and handlooms constitute three independent sectors of the Indian Textiles Industry.‖ Volume 9 Issue 7, July 2020 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: SR20713172207 DOI: 10.21275/SR20713172207 1100 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 Lack of design, innovation and technology up gradation.
Recommended publications
  • Andhra Pradesh Road Sector Project Addendum to Resettlement Action Plan
    1 Andhra Pradesh Road Sector Project Addendum to Resettlement Action Plan 1. Background. The Andhra Pradesh Road Development Corporation (APRDC), which is part of the Roads and Buildings (R&B) Department, Government of Andhra Pradesh (GoAP) is currently implementing the “AP Road Sector Project (APRSP)” with the loan assistance of the World Bank (WB) for improvement and upgradation of State Highways in 2 Phases. The phase-wise package details are as follows: No Phase-I Roads Package Nos. 1. Chittoor –Puttur road Package No. CP - 01 2. Mydukur –Jammalamadugu road Package No. MJ - 03 3. Mydukur –Jammalamadugu road Package No. MJ - 04 4. Kurnool –Devanakonda road Package No. KD - 02 No. Phase-II Roads Package Nos. 5. Kakinada –Rajahmundry road Package No. KR - 07 6. Pedana-Nuzvid-Vissannapeta road Package No. PNV - 08 7. Pedana-Nuzvid-Vissannapeta road Package No. PNV - 09 2. This addendum is prepared in the context of new LARR Act (Right to Fair Compensation and Transparency in Land Acquisition, Rehabilitation and Resettlement Act, 2013) and Andhra Pradesh Right to Fair Compensation and Transparency in Land Acquisition, Rehabilitation and Resettlement Rules, 2014. The Resettlement Action Plans (RAPs) are currently under implementation for the above packages and land acquisition in most of the above packages is not yet completed and is at various stages and Payment of resettlement and rehabilitation assistance is in progress . In view of the retroactive provisions for land acquisition compensation, this addendum is prepared to reflect the applicable changes for the remaining implementation. The retroactive provisions will be applicable from January 01, 2014. In case of those awards made prior to this date the provisions of earlier Land Acquisition Act will apply.
    [Show full text]
  • Batik V I S U a L M a G I C O N F a B R I C
    EZCC Batik V I S U A L M A G I C O N F A B R I C Batik is an ancient form of a manual wax- dyes. India had abundant sources of cotton, resist dyeing process, which is practiced in as well as several plant and mineral sources Indonesia, Malaysia, Japan, China, Thailand, from which the dyes could be extracted. Philippines, Sri Lanka, Nigeria, Middle East, Traditional colours of batik have always India and some other countries. The exact been indigo, dark brown and white – origin of batik is not known, but it is widely colours that represent the gods of the practiced in Indonesia. In India, the resist Hindu trinity – Brahma, Vishnu and Shiva. method of printing designs on fabrics can The art probably declined over the years as be traced back 2000 years, to the 1st it was a tedious and labour intensive century AD. Religious tapestries of ancient process. India bear testimony of the fact that batik The word batik means ‘wax writing’, and printing has existed in our country for a involves three major processes – waxing, long time. Also, traditionally batik was done dyeing and de-waxing – and several sub- only on cotton and silk fabrics, using natural processes – starching, stretching the fabric dipped in boiling water to melt off the layers on a frame and outlining the design using a of wax, to get the final pattern. Colours are special Kalamkari pen. Depending on the significantly changed by the preceding number of colours being used, creating a colour on the fabric as the process involves batik print on a fabric can take several days.
    [Show full text]
  • Kalamkari, the Art of Painting with Natural Dyes
    Chitrolekha International Magazine on Art and Design, (ISSN 2231-4822), Vol. 5, No. 2, 2015 URL of the Issue: www.chitrolekha.com/v5n2.php Available at www.chitrolekha.com/V5/n2/08_Kalamkari.pdf Kolkata, India. © AesthetixMS Included in Art Full Text (H.W. Wilson), EBSCOHOST, Google Scholar, WorldCat etc. Kalamkari, the Art of Painting with Natural Dyes Sharad Chandra Independent Researcher Kalamkari means painting with a pen. It is an exquisite form of textile art with a heritage dating back to the ancient times. The origin of the term can be traced to the early period of alliance between the Persian and Indian trade merchants which identified all painted textile art from India as Kalamkari. ‘Kalam’ is the Persian word for pen, and ‘kari’ in Urdu implies the craftsmanship involved. Hence, ‘Kalamkari’ denotes the myriad manifestations of hand painted textiles with natural dyes. The pen referred to in the term is a short piece of bamboo or date- palm stick, shaped and pointed at its end to form a nib. Created without the use of chemicals or machine Kalamkari art is entirely a handicraft using natural or vegetable dyes and metallic salts called mordants to fix the dye into the cotton fibers. An exact resist process, complex and careful dyeing, sketching and painting of the design and, occasionally, even the addition of gold or silver tinsel into it are the other integral components of this art. The Kalamkari works are mostly produced in the small towns of Kalahasti, Machilipatnam and other interior regions of Andhra Pradesh by rural craftsmen and women, and is a household occupation passed from generation to generation as heritage.
    [Show full text]
  • District Survey Report - 2018
    District Survey Report - 2018 4 DEPARTMENT OF MINES AND GEOLOGY Government of Andhra Pradesh DISTRICT SURVEY REPORT - KRISHNA DISTRICT Prepared by ANDHRA PRADESH SPACE APPLICATIONS CENTRE (APSAC) ITE & C Department, Govt. of Andhra Pradesh 2018 i District Survey Report - 2018 ACKNOWLEDGEMENTS APSAC wishes to place on record its sincere thanks to Sri. B.Sreedhar IAS, Secretary to Government (Mines) and the Director, Department of Mines and Geology, Govt. of Andhra Pradesh for entrusting the work for preparation of District Survey Reports of Andhra Pradesh. The team gratefully acknowledge the help of the Commissioner, Horticulture Department, Govt. of Andhra Pradesh and the Director, Directorate of Economics and Statistics, Planning Department, Govt. of Andhra Pradesh for providing valuable statistical data and literature. The project team is also thankful to all the Joint Directors, Deputy Directors, Assistant Directors and the staff of Mines and Geology Department for their overall support and guidance during the execution of this work. Also sincere thanks are due to the scientific staff of APSAC who has generated all the thematic maps. VICE CHAIRMAN APSAC ii District Survey Report - 2018 Contents Page Acknowledgements List of Figures List of Tables 1 Salient Features of Krishna District 1 1.1 Administrative Setup 1 1.2 Drainage 2 1.2a Kolleru Lake- A eco-sensitive zone 4 1.3 Climate and Rainfall 4 1.4 Transport and Communications 9 1.5 Population and Literacy 10 1.6 Important Places 11 1.6a Places of Tourist Interest 11 1.6b Places of
    [Show full text]
  • Traditional Indian Textiles Students Handbook + Practical Manual Class XII
    Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½
    [Show full text]
  • Veeraa Enterprises Chennai, Tamil Nadu, India
    Veeraa Enterprises Chennai, Tamil Nadu, India We are one of the leading manufacturers, suppliers and exporters of fancy fabrics like patchwork, pintuck and printed fabrics. These are used to make a variety of home furnishings and textile items like curtains and covers. Veeraa Enterprises Profile Established in the year 1996, we, “Veeraa Enterprises”, are a noted manufacturer, supplier and exporter of patchwork fabrics, fancy patchwork fabrics, zig zag patchwork fabrics, embroidery patchworks fabrics, blue patchwork fabrics, black patchwork fabrics, US patchwork fabrics, frill patchwork fabrics, denim frinches with applique fabrics, border embroidery applique fabrics, pintuck fabrics, embroidered pintuck fabric, denim pintuck fabrics, printed fabrics, printed patchwork fabrics, printed dobby fabrics, batik print fabrics, batik blue fabrics, kalamkari fabrics, checks fabrics, yarn dyed checks fabrics, madras checks fabrics. These are manufactured using quality raw material and are highly praised for attributes such as colorfastness, durability, ease in washing & maintaining and tear resistance. It is largely due to the quality of our fabrics that we have succeeded in putting together an esteemed group of loyal clients and attain high level of customer satisfaction. Our main business motive is to provide best fabrics at market-leading prices. Our team is aided by our sound infrastructure at all stages of production to ensure that the quality of our fabrics remains high. With the support of an able team and a good infrastructure, we have acquired a special place for ourselves in the industry of textiles and furnishings. As we fully understand the demands of our customers, they have a pleasurable experience while dealing with us.
    [Show full text]
  • Krishna District Machilipatnam Ph-223602 Krishna District Cell-9885395597 12
    11. SRI KOMPELLA GOPAL MACHILIPATNAM RICE MILL,SARPANCH VARI STREET BUTTAI PETA 1. SRI KALAPU GOPALAKRISHNA MURTHY MACHILIPATNAM D NO-5/323-1 ,JAVVARUPET KRISHNA DISTRICT MACHILIPATNAM PH-223602 KRISHNA DISTRICT CELL-9885395597 12. SRI GHANTASALA VENKATA SUBBA RAO PH - 08672 227602 , 220663 PANJA SIDE STREET,KENNADI ROAD RAMANAIDU PET 2. SRI KALAPU LAKSHMI SATYANARAYANA MACHILIPATNAM CIRCLE PETA , MACHILIPATNAM KRISHNA DISTRICT KRISHNA DISTRICT PH-229600 CELL-9440317352 , 08672 225478 13. SRI GAMINI SRINIVAS 3. SRI KALAPU GANESH KOTESWARARAO PANJA SIDE STREET,KENNADI ROAD D NO-5/323-1 ,JAVVARUPET RAMANAIDU PET MACHILIPATNAM MACHILIPATNAM KRISHNA DISTRICT KRISHNA DISTRICT PH, 08672 227602 PH-229600 4. SRI KALAPU PRASAD RAO 14. SRI VEERAMALLU GOPAL MANGALI VAARI STREET ENGLISH PALEM CENTRE CIRCLE PETA , MACHILIPATNAM MACHILIPATNAM KRISHNA DISTRICT KRISHNA DISTRICT CELL- 9440107161 PH-226852 5. SRI KALAPU DURGA NAGA 15. SRI VEERAMALLU SRINIVASARAO MALLESWARARAO D NO-22/85-1 ,BACHU PET MANGALI VAARI STREET MACHILIPATNAM CIRCLE PETA , MACHILIPATNAM KRISHNA DISTRICT KRISHNA DISTRICT CELL-9948264551 6. SRI KALAPU PURNACHANDRARAO 16. SRI KUKUNURU GOPAL (BABURAO) D NO-22-85 , ,BACHU PET OPP TO;-NARASIMHASWAMY TEMPLE MACHILIPATNAM, KRISHNA DISTRICT JALAL PET ;,MACHILIPATNAM KRISHNA DISTRICT 17. SRI YADAVALLY MURALI CELL-9290625731 D NO -7 /221 – 3 ,PADMAPRIYA BULDINGS KANYAKA RICE MILL ROAD, GODUGUPET, 7. SRI KALAPU SANKARA SOMAIAH MACHILIPATNAM KENNADI ROAD,JAVVARUPET KRISHNA DISTRICT MACHILIPATNAM CELL-9848263624 KRISHNA DISTRICT CELL-9966632242 18. SRI PENDYALA GANESH BABU PARASUPETA 8. SRI VEERAMALLU NAGAKRISHNATEJA MACHILIPATNAM KRISHNA DISTRICT 9. SRI DEVAGANUGALA VENKATA SATYA PH-251763 SUBRAMANYAM RICE MILL,SARPANCH VARI STREET 19. SRI GHANTASALA NAGARAJU BUTTAI PETA, MACHILIPATNAM PLAT NO 17 ,NGO’S COLONY KRISHNA DISTRICT PARASUPETA, CHILAKALAPUDI PH-223602 MACHILIPATNAM KRISHNA DISTRICT 10.
    [Show full text]
  • Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) roxane.shaughnessy@textilesociety.org Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) vitaplume@gmail.com Elena Phipps Our Mission Past President elena@textilesociety.org The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • THE RAMCO CEMENTS LIMITED (Formerly Madras Cements Ltd.,) Jaggayyapet Mandal, Krishna District, Andhra Pradesh Table of Contents
    PRE FEASIBILITY REPORT Of RAMCO BUDAWADA LIMESTONE MINE (Area: 160 Ha. Budawada Reserved Forest) Jaggayyapet Mandal, Krishna District, Andhra Pradesh For INCREASE OF LIMESTONE PRODUCTION FROM 1.1 to 2.5 MTPA CAPTIVE LIMESTONE MINE Of THE RAMCO CEMENTS LIMITED (Formerly Madras Cements Ltd.,) Jaggayyapet Mandal, Krishna District, Andhra Pradesh Table of Contents 1. Executive summary 2. Introduction of the project/ Background information 3 Project Description. 4 Site Analysis 5. Planning Brief. 6 Proposed Infrastructure 7. Rehabilitation and Resettlement (R & R) Plan. 8. Project Schedule & Cost Estimates 9. Analysis of Proposal (Final Recommendations). CHAPTER – 1 EXECUTIVE SUMMARY 1.0 Executive Summary The Ramco Cements Limited (formerly known as Madras Cements Ltd) is operating a Cement plant of total installed capacity of 3.65 Million Tonnes Per Annum (MTPA) of cement at KSR Nagar, Jaggayyapet Mandal, Krishna District, Andhra Pradesh. RCL is operating following Captive limestone mines to meet the limestone requirement of the cement plant. Jayanthipuram North Band Mine Jayanthipuram South Band Mine Ravirala Mine (Forest) Ramco Budawada Mine (Forest) – Subject Mine Ramco Budawada Limestone Mine is one of the mines being operated by RCL for which EC has been obtained vide Letter: F. No. J-11015/150/2008- IA II (M) dated 10th December, 2009 for 1.1 MTPA of Limestone production in an area of 160 Ha (Budawada Reserved Forest Area), Jaggayyapet Mandal, Krishna District, Andhra Pradesh. RCL propose to enhance Clinker production of the Cement plant by 0.3 MTPA for which limestone requirement is 0.5 MTPA. Due to presence of high silica zones, clay pockets and phyllites, mineral reserves have come down drastically in the operating captive limestone mines of Jayanthipuram cement plant.
    [Show full text]
  • Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) roxane.shaughnessy@textilesociety.org Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) vitaplume@gmail.com Elena Phipps Our Mission Past President elena@textilesociety.org The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • Palampore Palampore
    Palampore Palampore Named after lustrous Indian painted fabric panels, Palampore combines exotic Indienne-inspired and indigenous designs in two coordinating collections of fabrics and wallcoverings. The love affair with these decorated cloths became a European sensation in the 17th century as the vivid dying techniques were highly sought after and cotton was considered a luxury fabric for bedcovers. Patterns in these collections include tree of life elements – influenced by traditional palampore textiles – Jacobean flowers, unique leaf and paisley motifs, decorative small-scale designs and printed paperweaves, as well as a playful tiger, tribal and batik prints, that naturally complement the fabrics. Palampore Patterns LA PROVENCE Wallpaper–6 colorways Print Type: Screen Print Inherent of its French name, Match: Straight La Provence was inspired by a Vertical Repeat: 25¼" (64 cm) French document–an antique Width: 27" (69 cm) quilt. The large medallion radiates Made in USA with leaves and paisleys adorned with henna dot details. Printed Fabric–6 colorways Content: 100% Cotton Vertical Repeat: 24½" (62 cm) Horizontal Repeat: 26½" (67 cm) Width: 54" (137 cm) Made in UK JULES Wallpaper–7 colorways Print Type: Surface Print A tribal motif with repeating Match: Straight triangles. The matching print is Vertical Repeat: 5" (13 cm) on 100% cotton fabric. Width: 27" (69 cm) Made in UK Printed Fabric–6 colorways Content: 100% Cotton Vertical Repeat: 10¼" (26 cm) Horizontal Repeat: 6¾" (17 cm) Width: 54" (137 cm) Made in India TANSMAN Paperweave–5 colorways Print Type: Digital on Paperweave The color blocks of Tansman Match: Straight are reminiscent of traditional Vertical Repeat: 30½" (77 cm) African cloths.
    [Show full text]
  • Improving the Colour Fastness of the Selected Natural Dyes on Cotton (Improving the Sunlight Fastness and Washfastness of the Eucalyptus Bark Dye on Cotton)
    IOSR Journal of Polymer and Textile Engineering (IOSR-JPTE) e-ISSN: 2348-019X, p-ISSN: 2348-0181, Volume 1, Issue 4 (Sep-Oct. 2014), PP 27-30 www.iosrjournals.org Improving the Colour Fastness of the Selected Natural Dyes on Cotton (Improving the sunlight fastness and washfastness of the eucalyptus bark dye on cotton) R.Prabhavathi1, Dr.A.Sharada Devi2 & Dr. D. Anitha3 Department of Apparel and Textiles, College of Home Science, Acharya N.G Ranga Agricultural University (ANGRAU)Saifabad, Hyderabad -30, India. Part-V Abstract: This paper reports the improving the colourfastness of the natural dye with dye fixing agents, extraction of the colourants from natural sources; effects of different mordants and mordanting methods; selection of fixing agents; dyeing variables; post-treatment process and analysis of colour improvement parameters with fixing agents for cotton dyed with natural dye; assessed colour improvement with colourfastness test. Key words: Eucalyptus Bark natural dye, fixing agents, coloufastness, shade variations with dye fixing agents I. Introduction: In India, dyes from natural sources have ancient history and can trace their route to antiquity. It is interesting to note that India is one of the few civilizations to perfect the art of fixing natural dye to the cloth. Indian textiles were greatly valued and sought after for their colours and enduring qualities. Like most ancient Indian arts and crafts, part of the knowledge and expertise of natural dyes has traditionally passed down from the master crafts man to his disciples. Even though scientists have paid considerable attention in the post independence period to study the plants in relation to their pharmaceutical use, very little attention was paid to study the plants as sources of dyes and colourants.
    [Show full text]